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Tom Jones has been in show business for a number of decades, and he is still going strong. The Welshman scored his first success in 1965, with It's Not Unusual, a song that was a worldwide hit. Stefan Schwalgin has arranged this song in such a way that the big band sound and the soullike singing in the original are reflected perfectly in the instrumentation. DUration: 2:40.

Tom Jones has been in show business for a number of decades, and he is still going strong. The Welshman scored his first success in 1965, with It's Not Unusual, a song that was a worldwide hit. Stefan Schwalgin has arranged this song in such a way that the big band sound and the soullike singing in the original are reflected perfectly in the instrumentation.

One of Berlioz's ill-fated operas, Benvenuto Cellini was first produced at the Paris Opera in September 1838. It was withdrawn as a failure after only four performances. Neither did the solitary performace given at Covent Graden some fiftenn years later, in the presence of Queen Victoria and Price Albert, meet with any greater success. But when in 1888 it was produced at Dresden it was acclaimed by the Germans as a triumph. The Carl Rosa Opera did much to revive interest in the work.Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story laid in Rome during the mid-sixteenth century is not strictly historical.Berlioz must have been well pleased with this opera despite its ealy failure. Not only did he include in the overture several of its themes - a not unusual pracitce - but he fashioned another overture with its material as well - the great Le Carnaval Romain.The short opening Allefro marked deciso con impeto is conceived in the most brilliant Berlioz manner, utilizing full instrumentation. In the Larghetto, we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaption of Teresa's aria (Act 1). Towards the end, the 'Cardinal'theme is re-introduced by trombone fortissimo against an energetic florid cornet and euphonium passage (seneza stringendo - without hurry, says the score).After a unison passage storming skywards, there is a sudden dramatic three-bar silent pause broken by Eb basses alone, again stating the 'Cardinal' theme. A simple molto cresendo on the dominant, begun piano, leads to the final long, resounding chord.

One of Berlioz's ill-fated operas, Benvenuto Cellini was first produced at the Paris Opera in September 1838. It was withdrawn as a failure after only four performances. Neither did the solitary performace given at Covent Graden some fiftenn years later, in the presence of Queen Victoria and Price Albert, meet with any greater success. But when in 1888 it was produced at Dresden it was acclaimed by the Germans as a triumph. The Carl Rosa Opera did much to revive interest in the work.Adapted from certain episodes recorded in the memoirs of Benvenuto Cellini, Tuscan sculptor and goldsmith, the story laid in Rome during the mid-sixteenth century is not strictly historical.Berlioz must have been well pleased with this opera despite its ealy failure. Not only did he include in the overture several of its themes - a not unusual pracitce - but he fashioned another overture with its material as well - the great Le Carnaval Romain.The short opening Allefro marked deciso con impeto is conceived in the most brilliant Berlioz manner, utilizing full instrumentation. In the Larghetto, we meet at once the first of the opera themes - the Cardinal's aria (from the last act) introduced in the bass, quasi pizzicato. A second melody leads to a resumption of the Allegro, the contrasting second subject in the tenor horns being an adaption of Teresa's aria (Act 1). Towards the end, the 'Cardinal'theme is re-introduced by trombone fortissimo against an energetic florid cornet and euphonium passage (seneza stringendo - without hurry, says the score).After a unison passage storming skywards, there is a sudden dramatic three-bar silent pause broken by Eb basses alone, again stating the 'Cardinal' theme. A simple molto cresendo on the dominant, begun piano, leads to the final long, resounding chord.

This unusual new work really lives up to its title with sound hitting the audience from all sides. The composer intended that this work not only be heard but experienced. The audience will feel how the drums and cornet figures fly around the auditorium as if a ball being kicked between players. This innovative piece is sure to be a hit with all who hear and play it.

The idea behind this work was to create an opening piece, something to start a concert in an unusual way. The title is a portmanteau word derived from madrigal. The work indeed begins in Renaissance mood however gradually tries to shake of its modal start and, by contrasting different instrumental families,the work changes into modern clothes.Why not add a little Renaissance splendor to any concert with this unique new work?

Durkle Bandrydge is the name of the composers imaginary world, but it could very well be anyones invisible dream world with a different name. In this very versatile suite by Bruce Fraser, 8 characters are featured, each with its own peculiarities, making Durkle Bandrydge such a colourful place. Do these characters differ that much from us? That is for you to find out! In the last part, all characters come together in a special way.Durkle Bandrydge exists at the end of your street. It is invisible to humans, but Durkle Bandrygators can watch us with great interest. The music will introduce you to some of the characters who live in this unusual place. The parts: Somnanbulyss, who is a giant troll guarding the entrance to Durkle Bandryde. At least, he is supposed to, but he tends to sleep most of the time. His music is therefore very slow moving and sleepy. Long Gwysteen is a tall, mysterious, and somehow sophisticated character, who walls around with a shell on his back. His music glides along rather gracefully. Squelfitch is a rather unpleasant and smelly character who lives in a bog, which is why his music sounds rather slimy and a bit like trying to walk through quicksand. Perfydlia is a meddling old woman, who gossips about everybody and squeals with sudden delight at the small exciting bits of tittletattle about others in the village. In the music you can hear her sudden little squeals of delight. Maryann Lovely is a beautiful young lady, graceful, gorgeous, absolutely devine, and her music is obviously just the same. Thistledoo Nicely is a lively character who spends and spends and spends with her credit card, buying the latest fashion and never worries about having to pay the bills. Her music reflects her excitement when shopping and het 'happy go lucky' approach to life. Marsyn Edginton is the Lord of the manor, the richest man in town, the 'big cheese', the man with all the power and, of course, the biggest house. He is very grand and his music like he could be a king. Jimmy McScotsmyn is a red haired scotsman wearing tartan cap. He misses his home country terribly and eats lots of shortbread, oatcakes, scotch eggs, porridge and drinks an enormous amount of Scotch Wisky, which helps him to have fond memories of the kind of music he would like to dance to when he was a younger man. His favourite dance is a Jig and this is the music he remembers. Grand March of the Durkle Bandrydgators. We hope that you have enjoyed meeting these characters from Drukle Bandrydge and would invite you to listen to all the villagers now march along in a grand parade - it is a pity that you can not see them, what is a wonderful sight. If you listen carefully, you will hear the melodies which belong to the characters as they march past. Oh what a grand spectacle!